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Grade 3 : Ati- Atihan A) Pre-assessment: Show photos and videos.

Ask if they know who these people are and where they live

http://www.nscb.gov.ph/ru6/kalibo_Ati-atihan.jpg

http://farm4.static.flickr.com/3339/3202961011_166c97514d_o.jpg Video:

Ati Atihan

The Ati-Atihan is a festival in honour of the Santo Nio, celebrated in the third week of January. During the last three days of this week-long festival (fiesta), a parade is characteristic. A colourful happening with celebrants who paint their faces in many different ways and who are dressed in the most exceptional costumes. The dancing on the rhythms of the drums makes this festival comparable with carnival in Rio in Brazil! The fiesta is celebrated in Kalibo on the island of Panay (Visayas). The origin In the thirteenth century, long before the Spaniards came to the Philippines, light-skinned immigrants from the island of Borneo (Kalimantan) in Indonesia arrived on Panay. The local people of Panay, the Ati (negritos), a small and dark (black) kinky-haired people, sold them a small piece of land and allowed them to settle down in the lowlands. The Atis themselves, lived more upland in the mountains. One time the Ati people was in need of food because of a bad harvest in their homelands. They came down to the lowlands of the Maraynon and asked them food. Every year since then, the Atis came down to the lowland inhabitants to ask for some food. They danced and sang in gratitude for the helping hand. A real friendship was born and the Maraynon started to paint their faces black in honor of the Atis and took part in the fiesta. Spanish influence After the Spaniards settled down in the Philippines, some Catholic elements infiltrated in the fiesta, especially honoring Santo Nio. A Spanish representative arranged a deal with the local leaders of the Atis and the leader of the immigrants from Borneo. The outcome of the deal was, that in the future the existing native celebration would be dedicated to the Santo Nio. Nowadays it is a mix of parades, procession and dancing people on the rhythms of monotonous music of drums or the rhythmic tinkling of metal and stone on bottles. It looks as if the dancing never stops! The ritual dance originates from the Atis. The name Ati-Atihan means "make-believe Atis." Viva kay Santo Nio! It is said that the procession is the climax of the fiesta. It is held on the last Sunday. The street dancers never fail to enter the Kalibo church every time they pass by.

http://www.philippines.hvu.nl/culture3.htm

B) History http://www.bibingka.com/phg/ati2han/default.htm The Ati-Atihan Festival by Reuben Domingo

The Ati-Atihan, held every January in the town of Kalibo in the province of Aklan on
the island of Panay, is the wildest among Philippine fiestas. Celebrants paint their faces with black soot and wear bright, outlandish costumes as they dance in revelry during the last three days of this week-long festival. The Ati-Atihan, a feast in honor of theSanto Nio, is celebrated on the second Sunday after Epiphany. Catholics observe this special day with processions, parades, dancing, and merrymaking. The Santo Nio has long been the favorite of Filipinos and devotion to it has been intense ever since an image was first presented to Juana, Queen of Cebu, in 1521. Although the Ati-Atihan seems to show only revelry, a closer look shows that it has historic origins.

The pounding of bass drums and the rhythmic tinkling of metal and stone on bottles
reverberate in the air during the celebration. Monotonous and pulsating, the music blasts a while then stops to wait for a response from others. Drums beat continuously and everyone talks and shouts, HALA BIRA, PUERA PASMA!

By midmorning, small groups gather in their respective neighborhoods. They are


prodded by drums as they dance their way to the town center. They grow in numbers as different groups from outlying areas merge into one as they get closer to the center of town. Sometimes the crowd thins as a few drop out to worship in silence and offer themselves to their own gods. But they always come back to rejoin the group to disappear in the gyrating mob. The dancing never stops. All week long, celebrants arrive by land, sea, and air. As inter-island boats dock, they are greeted by pseudo-New Guinea tribal drummers. Tourists are ferried across rice fields and coconut plantations to Kalibo hotels while others are accommodated in private homes and public buildings. Others camp on the beach. By weekend all accommodations are gone although there seems to be no need for them as nobody bothers to sleep anyway. There is music everywhere and the rowdy crowd often finds itself inside improvised halls dancing all night long.

The steady beat of drums can sometimes be heard late in the night as a lone drummer is suddenly inspired to pick up the rhythm. Or perhaps it is only the drum in his own head that one hears as alcohol begins to numb the senses. VIVA EL SEOR SANTO NIO!

Celebrants ape the dance of the Atis, hence the name Ati-Atihan which means "makebelieve Atis." This ritual is said to be the result of the sale of land in Panay by the Ati chieftain Marikudo to Datu Puti and the Borneans so that they can have a place to settle. How did the Santo Nio come into this pagan celebration? Is this a Christian feast or a pagan ritual where devil-outfitted participants dance hand-in-hand with old ladies in sarongs and young colegialas, arm-in-arm with dirty naked men, swig San Miguel beer and White Castle whiskey as their fathers in miniskirts and their mothers in elaborate headdresses watch? An uncle in a World War II guerilla uniform and a brother wearing a rubber Nixon mask may also be watching, unconcerned.

The celebration uncontrollably builds to the "bedlam of its climax-the torch-lit Sunday procession," says Gabriel Casal, O.S.B., in his article in Filipino Heritage. Casal observes that the unyielding street dancers never fail to enter the Kalibo church every time they pass by. Repeated shouts of "Viva kay Santo Nio!" and placards carried around with the same slogan make it known to everybody that this profane merriment is the participants' raucous way of honoring theSanto Nio. Casal said that the coming of the Santo Nio into the fiesta started with the intervention of the first encomiendero of Aklan, Don Antonio Flores. He made arrangements with Datu Malanga and Datu Madayog to have their then existing native celebration be dedicated to the Santo Nio. When strong rains wiped out hillside crops in the distant past, the Atis came down to ask for food. The lowlanders who had a good harvest shared their blessings with the black, kinky-haired people. The Atis danced and sang in gratitude for the helping hand. Every year since then, the mountain people have come down to ritually solicit food though song and dance. The "lighter-skinned Maraynon, as the Borneans came to be called, got into the spirit of the newly-established friendship by daubing their faces with soot and danced with the Atis." (Casal, 2320)

Sometime in the 13th century, ten datus from Borneo fleeing the tyranny of Datu Makatunaw purchased some land in Panay from the Ati Marikudo, son of the old chief Populan. The price agreed upon was a solid gold hat and a basin. In addition, the Ati chief's wife wanted an ankle-length necklace for which the natives gave a bushel of live crabs, a long-tusked boar, and full-antlered white deer. Datu Puti, leader of the expedition and a relative of Makatunaw, established the Panay settlement and left Datu Sumakwel in charge. Datu Puti went on farther north to the island of Luzon and left Datu Balensuela and Datu Dumangsil in a settlement in Taal. Datu Puti later returned to Borneo. These we gather from Maragtas, a book written by Pedro Monteclaro in 1907 and supposedly based on an ancient manuscript that nobody has ever seen.

Among the Visayans, the Spaniards wrote, it is not quite proper to drink alone or to
appear drunk in public. Drinking is done in small groups or in "gatherings where men as well as women sat on opposite sides of the room, and any passerby was welcome to join in." Father Loarca admired their control for they rarely got angry when drunk and Alcina relates that the Visayans could decide disputes in the "best, quickest and most equitable way" when wine was used to enliven the discussion. "After drinking something, he who proposes does it with eloquence, those who respond, with discretion, those who decide, with attention, and all with fairness." (Blair & Robertson, v1)
One of the first things the Spaniards learned about the Visayans was that they were good drinkers. Magellan had no sooner landed in Homonhon, when people from nearby Suluan presented him a jarful of what Pigafetta recorded as uraca--that is, arak, the Malay-Arabic word for distilled liquor. In Limasawa, Pigafetta drank from the same cup as Rajah Kolambu, and his translator, Enrique de Malacca, got so drunk he wasn't of much use; a few days later, the local harvest was delayed while Kolambu and his brother Awi slept off a hangover. In Cebu, Pigafetta drank palm wine, tuba nga nipa,straight from the jar with reed straws together with Rajah Humabon, but in Quipit he excused himself after one draught when Rajah Kalanaw and his companions finished a whole jar withour eating anything. Looking for the Prehispanic Filipino William Henry Scott, 152

The early acceptance of Catholic rituals had much to do with the eventual suppression of the natives' ritual drinking. The Spanish clergy did not oppose moderate drinking but were able to attack excessive indulgence as a threat to public morality. What aroused the friars was that drinking was tightly bound to pagan celebrations of betrothals, weddings, and funerals. These activities would eventually be eliminated among Christianized Filipinos. (Phelan, 76-7) However, this did not happen with the Ati-Atihan.

In spite of the remoteness of some native settlements, the fiesta enabled the religious
orders to reach out to their scattered flock. "There were three fiestas of consequence to the Filipinos, namely, Holy Week, Corpus Christi, and the feast in honor of the patron saint of the locality." The natives would flock to the cabecera and it was also an opportunity to indoctrinate them in Christianity. Fiestas offered religious processions, dances, music, and theatrical presentations to the people. Although it may be "sacred or profane blended together...it is highly doubtful that the Filipino were aware of the ceremony's elaborate liturgical symbolism, but they evidently relished the pageantry involved." (Phelan, 73) This statement seems particularly appropriate for the AtiAtihan. Wherever the flock may be, they can hear the drumbeats from far-away Kalibo calling them at the start of every year. Kalibo's Ati-Atihan has become so popular that similar festivals have cropped up all over Western Visayas. Antique has its Binirayan and Handugan festivals while Iloilo City has a more lavish and choreographed edition called Dinagyang. Bacolod, not one to be left behind, has also started its own version. (Hoefer, 255) In Cebu, it comes as Pit Senyor, a hopping dance to drums, (Joaquin, 18) or Sinulog. Today,AtiAtihan is celebrated in the Aklan towns of Makato, Altavas, and Ibajay, a small town northeast of Kalibo which claims to be the original site where the Negritos came down from the hills to celebrate with the lowlanders. Of course, this claim is recounted in various towns along the northeast coast of Panay but through the years, Kalibo has established itself as the Ati-Atihan center.

The original commemoration of a land barter and gratefulness to the


Provider for the post-monsoon harvest has turned into a feast day for the Santo Nio. He is the direct link to the Father, the God of all, the Redeemer from infamy, the Absolver of all sins, the Deliverer to a better life. That is why Filipinos carry Him close to their hearts as a talisman, or anting-anting,and as protection from the unholy. (Ileto, 16)

There is so much to be thankful for. It could be the completion of a good trade, a


bountiful harvest, deliverance from famine and storm, a peace pact between warring peoples, a prayer answered, a vow reaffirmed, or just plain ecstasy for life. The beat goes on and frenzy builds up in the noonday heat as sweat and brew eats up the senses. Icons of history, pop characters, and political personages dance with Congolese warriors in mock battle with caballeros. The celebrants' dreams are reinforced by rosaries and prayers which absolve them from their sins and resurrect them as new persons, maybe with a hangover, but definitely saved again.

Once inside the church these costumed revelers would kneel along the communion rail to have their heads, shoulders, and backs rubbed by the now exhausted sacristan,priest, or church helper with a small statue of the Santo Nio. (Casal, 2320) And just as the Ati-Atihan is an outward display of revelry and exaltation, the devotee is in search of something which is missing from within. That which was empty is now filled, probably as much with spirit from the bottle as much as anything else. The celebrant becomes at peace with himself, the world, and his god. The loob is once again purified by the performance of the ritual of the panlabas.
With church bells pealing to the rhythm of HALA BIRA! PUERA PASMA! a now cleansed assembly of revelers stumble back to the streets of the Ati-Atihan climax, the end of a long precession where muggers, gropers and thieves have rubbed elbows with schoolgirls and church ladies tearfully singing religious hymns. The twin lights of media and tourism have done their bit in egging the frenzy on, but at the core, it is only the Filipino tugging two polar ends of his soul together. Philippines Insight Guide Hoefner, 54

C) Listen to music D) Steps


1. Stomp foot, step close 2. Stomp foot, step close side to side 3. "Sugod" stomp foot forward 4. Step ball change 5. In circle, move sideways fight scenes 6. Shuffle 7. Right side, palm up move side to side 8. Gulat- raise both palms while kicking the r foot simultaneously, look to the left crossing the r foot,kick r foot front and face front, feet together 9. Jogging- shoulders moving down, slide right and left 10. Sugod- r l r kick and clap, back l r l r clap to side, turn to the right clap, turn to the left clap 11. Cobra 12.Taas kamay iwagayway, while turning 13. Duyan- arms, shoulders moving left and right alternately 14. Move to right and left, front and back

15. Palakpakan